Aram Shelton/Steini Gunnarson

Son of Gunnar Ton of Shel
Edgetone Records EDT 4055

Jack Wright and Alban Bailly

The Harmony Of Contradictions

Sort of Records/Abstract on Black Sort of 019/AOB 004

Reeds and strings in a duo formation played by American saxophonists and European-born guitarists couldn’t sound much different than how they do on these CDs, even though all four players operate in what is still loosely called improv-based experimental music,

Gudmundur Steini Gunnarson, a California-based Icelander playing prepared guitar and processing and another West Coast transplant – via Florida and Chicago – Aram Shelton, with his trumpet, alto saxophone, bass clarinet and processing create a multi-textured work committed to the transforming nature of electronics. However veteran Philadelphia-based soprano and alto saxophonist Jack Wright and acoustic guitarist Alban Bailly, a Philly-based native of France, achieve the same sort of time and tempo displacement and idiosyncratic structuring on The Harmony Of Contradictions using purely acoustic instruments.

As a matter of fact, only on a track such as “A Charming Decoy” on Son of Gunnar Ton of Shel, are true instrumental identities finally revealed. And that’s only because Shelton suddenly vibrates a chalumeau tone from the bass clarinet, mixing his timbres with those caused by Gunnarson’s chromatic slaps on unplugged guitar. Although that piece concludes with side-slipping reed smears and triple tonguing plus bottleneck-styled picking, these are sonic anomalies. Throughout most of the other tracks, cacophonous and undifferentiated metallic patches and loops plus fuzzy, pointillist multiphonics are more common interface. Floating tones encompass string rattles, strummed clinks, muted bras puffs and chromatic saxophone trills.

Defining track is the three-part “Constitution”. As Gunnarson’s hand-tapped strings provide a percussive undertow, while pickups separate panning lines, Shelton triggers a sequence of processed alto saxophone split tones, which double back onto one another. Operating as if a saxophone section was standing behind Shelton’s chanter-like blows, each reed tone still possesses distinctive pitch, tempo and volume variations. Also revealing his multi-musical personalities is the guitarist, with creaking and scraping licks, ringing flanges plus circling, motor-driven-styled resonations and amp buzzes. Following a climax of tugboat horn-like reed blurts along with the nearly detuned guitar percussiveness, melody snatches turn diminuendo.

Meanwhile distanced, wispy reed expiration and sharp clanking strums are part of the interlocking quiet of the other CD. More notably, each bilingually titled track also speaks in a third language of ambiguous microtones.

A characteristic interaction is apparent with the concluding “la raison de la folie = the reason for madness”. Here Bailly appears to be roughly rubbing cardboard along his strings while Wright croaks out an intermezzo of tongue flutters, discursive sound clusters and ghost note patterns. An interlude of inchoate, unattached timbres is finally resolved as trebly string pick and pops fade into silence.

Preceding that, the distinguishing measures on “la viellesse de l’innocence = the antiquity of innocence” are neither old-fashioned nor guileless. As the saxophonist’s pinched reed cries inflate to pulsating yelps, flattement and slurs, the guitarist responds in kind with pats and rubs on his strings, reconfiguring the resulting tones more slowly than adagio, further exposing singular twangs, licks, slurs and fills.

Additionally each player turns staccato outpouring to its best advantage. Wright can masticate his reed to produce peeps and roars, while Bailly – when not abrasively wiping his strings or picking tones from beneath the bridge – stretches a single note almost indefinitely without breaking it or the interlocking sound.

As the definition of improvised, experimental music is fluid, so too are the adaptations these duos have brainstormed to produce these notable sounds.

-- Ken Waxman

Track Listing: Son: 1. In Circulation 2. A Charming Decoy 3. Constitution [Part 1] 4. Constitution [Part 2] 5. Constitution [Part 3] 6. The Populous 7. One Early Riser

Personnel: Son: Aram Shelton (trumpet, alto saxophone, bass clarinet and processing) and Gudmundur Steini Gunnarson (prepared guitar and processing)

Track Listing: Harmony: 1. la folie de la raison = the madness of reason 2. l’innocence des viellards = the innocence of old men 3. la beauté des laids = the beauty of the ugly 4. l’hésitation des audacieux = the hesitation of the bold 5., l’audacité des hésitants = boldness of the hesitant 6. la laideur de la beauté = the ugliness of beauty 7. la viellesse de l’innocence = the antiquity of innocence 8. la raison de la folie = the reason for madness

Personnel: Harmony: Jack Wright (soprano and alto saxophone) and Alban Bailly (acoustic guitar)

May 30, 2009

Jack Wright and Alban Bailly

The Harmony Of Contradictions
Sort of Records/Abstract on Black Sort of 019/AOB 004

Aram Shelton/Steini Gunnarson

Son of Gunnar Ton of Shel

Edgetone Records EDT 4055

Reeds and strings in a duo formation played by American saxophonists and European-born guitarists couldn’t sound much different than how they do on these CDs, even though all four players operate in what is still loosely called improv-based experimental music,

Gudmundur Steini Gunnarson, a California-based Icelander playing prepared guitar and processing and another West Coast transplant – via Florida and Chicago – Aram Shelton, with his trumpet, alto saxophone, bass clarinet and processing create a multi-textured work committed to the transforming nature of electronics. However veteran Philadelphia-based soprano and alto saxophonist Jack Wright and acoustic guitarist Alban Bailly, a Philly-based native of France, achieve the same sort of time and tempo displacement and idiosyncratic structuring on The Harmony Of Contradictions using purely acoustic instruments.

As a matter of fact, only on a track such as “A Charming Decoy” on Son of Gunnar Ton of Shel, are true instrumental identities finally revealed. And that’s only because Shelton suddenly vibrates a chalumeau tone from the bass clarinet, mixing his timbres with those caused by Gunnarson’s chromatic slaps on unplugged guitar. Although that piece concludes with side-slipping reed smears and triple tonguing plus bottleneck-styled picking, these are sonic anomalies. Throughout most of the other tracks, cacophonous and undifferentiated metallic patches and loops plus fuzzy, pointillist multiphonics are more common interface. Floating tones encompass string rattles, strummed clinks, muted bras puffs and chromatic saxophone trills.

Defining track is the three-part “Constitution”. As Gunnarson’s hand-tapped strings provide a percussive undertow, while pickups separate panning lines, Shelton triggers a sequence of processed alto saxophone split tones, which double back onto one another. Operating as if a saxophone section was standing behind Shelton’s chanter-like blows, each reed tone still possesses distinctive pitch, tempo and volume variations. Also revealing his multi-musical personalities is the guitarist, with creaking and scraping licks, ringing flanges plus circling, motor-driven-styled resonations and amp buzzes. Following a climax of tugboat horn-like reed blurts along with the nearly detuned guitar percussiveness, melody snatches turn diminuendo.

Meanwhile distanced, wispy reed expiration and sharp clanking strums are part of the interlocking quiet of the other CD. More notably, each bilingually titled track also speaks in a third language of ambiguous microtones.

A characteristic interaction is apparent with the concluding “la raison de la folie = the reason for madness”. Here Bailly appears to be roughly rubbing cardboard along his strings while Wright croaks out an intermezzo of tongue flutters, discursive sound clusters and ghost note patterns. An interlude of inchoate, unattached timbres is finally resolved as trebly string pick and pops fade into silence.

Preceding that, the distinguishing measures on “la viellesse de l’innocence = the antiquity of innocence” are neither old-fashioned nor guileless. As the saxophonist’s pinched reed cries inflate to pulsating yelps, flattement and slurs, the guitarist responds in kind with pats and rubs on his strings, reconfiguring the resulting tones more slowly than adagio, further exposing singular twangs, licks, slurs and fills.

Additionally each player turns staccato outpouring to its best advantage. Wright can masticate his reed to produce peeps and roars, while Bailly – when not abrasively wiping his strings or picking tones from beneath the bridge – stretches a single note almost indefinitely without breaking it or the interlocking sound.

As the definition of improvised, experimental music is fluid, so too are the adaptations these duos have brainstormed to produce these notable sounds.

-- Ken Waxman

Track Listing: Son: 1. In Circulation 2. A Charming Decoy 3. Constitution [Part 1] 4. Constitution [Part 2] 5. Constitution [Part 3] 6. The Populous 7. One Early Riser

Personnel: Son: Aram Shelton (trumpet, alto saxophone, bass clarinet and processing) and Gudmundur Steini Gunnarson (prepared guitar and processing)

Track Listing: Harmony: 1. la folie de la raison = the madness of reason 2. l’innocence des viellards = the innocence of old men 3. la beauté des laids = the beauty of the ugly 4. l’hésitation des audacieux = the hesitation of the bold 5., l’audacité des hésitants = boldness of the hesitant 6. la laideur de la beauté = the ugliness of beauty 7. la viellesse de l’innocence = the antiquity of innocence 8. la raison de la folie = the reason for madness

Personnel: Harmony: Jack Wright (soprano and alto saxophone) and Alban Bailly (acoustic guitar)

May 30, 2009

DONEDA/WRIGHT/NAKATANI

from between
soseditions 801

BLUE COLLAR
__ is an apparition
Rossbin RS 016

Tatsuya Nakatani’s irregular percussion pulse is what holds these two trio sessions together. Yet the skills of the Japanese-born, South Bronx, N.Y.-based improviser and sound artist merely underline the objectives of the two hornmen with whom he’s associated on either CDs.

Firmly committed to microtonal improv, saxophonists Michel Doneda and Jack Wright on FROM BETWEEN and brassmen Nate Wooley and Steve Swell on _IS AN APPARATION express themselves in non-linear sound pictures in such a way that not only Free Jazz, but electronics -- albeit without electronic instruments -- are referenced. This far into the 21st century, both duos make their point succinctly. But Wooley/Swell/ Nakatani’s band Blue Collar is more novel, since the brassmen create with three valves each, while sopranino and soprano saxophonist Doneda and soprano and alto saxophonist Wright do so with a multiplicity of manipulated keys.

Oregon-born, New York-based Wooley’s experience encompasses work with saxophonist Assif Tsahar’s big bands and combo work with Denver’s Fred Hess and easterners Andrew D’Angelo and Wright, who is featured on FROM BETWEEN. On this CD though, Wooley utilizes the trumpet not as a brass instrument, but as a sound source, moving into the area explored by Boston’s Greg Kelley and Berlin’s Axel Dörner.

More surprising is the presence of Swell, one of the most accomplished New York ‘bone man, usually found applying modern gutbuck smears in the Free Jazz bands of bassist William Parker and saxist Sabir Mateen, among many others. Here he proves that the intricacies of circular breathing and split-second flutter tonguing are part and parcel of his repertoire.

On the almost 13-minute “[92]”, the longest and most abstract track, the percussionist’s work seems more upfront since it’s a good five minutes before the first brass smears appear. Before that the two hornmen have confined themselves to bubbling bell motions plus the clatter and scrape of valves being loosened. Eventually Swell turns to foreshortened slide positions, while Wooley flutter-tongues and squeezes tones until both combine for a single line, decorating it with vocalized back of the throat grainy mumbles and mouthpiece thumps.

Nakatani’s gentle pings give way to elongated drumstick scratches on cymbal tops in “[22]” and a constant cowbell smack that sounds as if he’s playing the intro to “Mississippi Queen” at one-tenth its speed on “[40]”. The former sounds as if it’s produced by one electronically tinged instrument, where echoing -- and watery -- buzzing from the cymbal’s resound are followed by the oscillating pressure of carefully emphasized brass timbres. The latter finds the brass tones divided among the patting of bass drum and cymbals, with the trombonist turning chromatic plunger tones into a tugboat honk and the trumpeter producing a mosquito-like drone.

Percussion outlay includes gong reverberation, spinning ratchets, drum thunder and times when Nakatani seems to be creating extra colors by either rubbing a washboard or loosening the screws and connections on his kit. Similarly the brass inventory features the men blowing nothing but colored air through the bell, wordless growls and hollers, middle of the horn blats and snarls, mouthpiece kisses, sluicing plunger tones and pedal point blows.

Every technique appears to be on show on “[49]”, as prestissimo snarls and circular breathed whispers from the trumpet meet basso watery blasts from the trombonist. As emphasized triplets and half-valve effects appear from both, the percussionist rattles flams and bounces, strokes his sets of bells and produces ruffs from his snare. When Swell uses his plunger to exact bass notes and Wooley trills rubato on top, Nakatani strikes his cymbal with wire brush and repeatedly resonates a large gong.

A more familiar grouping of reeds and percussion, FROM BETWEEN highlights the increasing internationalism of Free Music. There’s the Japanese-born Nakatani and Easton, Penn.-resident Wright, who has concentrated on the saxophone after a time in academe and in revolutionary politics. Besides Wooley, he has played with Dörner, British bassist Tony Wren and toured the U.S. with Doneda in 2003. Toulouse-based Doneda is a self-taught musician, whose improvising partners include American saxist Bhob Rainey, French percussionist Lê Quan Ninh, dancers, poets and actors.

Another session that offers up electronic-like sounds with acoustic instruments, this CD’s major piece is also its first track. More than 30½-minutes long “hands behind hands” features the saxophonists exploring every tint of the reed color wheel as the percussionist provides a restrained canvas for their aural brush strokes.

Beginning with bubbling raspberries and glottal stops from the saxes, sawing tones from a drumstick on cymbals gradually presage a shrill squeezed tone from sopranino, languidly expelled air, an occasional honk and elongated chirrups. As Nakatani feeds irregular hollow thwacks and gamelan-like cymbal hits to the others, the reedman turn to squealing higher pitched oscillations that then break up into click-clanking bumps, wavering slurs and tongue stops. Before Wright finishes with extended fog horn timbres, his tones sound as if they’re coming from a comb and tissue paper kazoo. Meanwhile, Doneda produces short, jagged squeaks. Small animal reverberations from the sopranino turn to flutter-tongued single tones as the sopranoist blows colored air through his horn. Finally the drummer counters reed mouse peeping with what sounds like a top spinning in the studio.

Then, one reedist’s split-tone harmonies combine with the other’s police-whistle shrills for quivering unison tones that come in and out of focus. Following an extensive period of circular breathing from both horns, one continues to resonate curved tones while the other produces more strident trilled notes. Eventually the joined tones start to resemble sine wave electronics or perhaps ponticello strings.

Faster and more abrasive, the two shorter pieces that follow offer more of the same atonalism, with tongue slaps, French kissed reeds, minute sax whoops, snorts, barks, feral murmurs and mumbled flutter tonguing. More inhibited than with the two brassmen, Nakatani’s quirky accompaniment includes tam tam-like single colored tones and chime resonation. Only in a couple of instances does he use ear splitting multi-hued screeches that result from the drag of a drumstick on a cymbal top.

As an aside, the CD must have the least visually friendly wrapping of any contemporary CD. Packaged in fine, dark cardboard, details are embossed on the black paper and are difficult to make out without eyestrain.

Despite this visual affront, the sounds on this CD and the other are more examples of steadily evolving free music. They can and should be appreciated for unvarnished veracity.

-- Ken Waxman

Track Listing: between: 1. ‘hands behind hands’ 2. ‘of pipes and roots’ 3. ‘... open this surface to clouds’

Personnel: between: Michel Doneda (sopranino and soprano saxophones); Jack Wright (soprano and alto saxophones); Tatsuya Nakatani (percussion)

Track Listing: apparition: 1. [92] 2. [19] 3. [40] 4. [22] 5. [31] 6. [63] 7. [49] 8. [48]

Personnel: apparition: Nate Wooley (trumpet, voice); (Steve Swell, trombone, voice); Tatsuya Nakatani (percussion)

November 8, 2004

BHOB RAINEY

Sweet Sonk
Crouton No #

BHOB RAINEY/GREG KELLEY
nmperign
Selektion No #

BHOB RAINEY/JACK WRIGHT
Signs of Life
Springgarden No #

BHOB RAINEY/ JACK WRIGHT/FRED LONBERG-HOLM/BOB MARSH
Double Double
Springgarden No #

Step right up ladies and gentlemen for the thrills and chills on show in each of the areas of our four-ring improv circus. Featured performer is saxist Bhob Rainey who performs a series of kinky, usual and death defying feats with his curved soprano saxophone. See him physically take it apart in front of your eyes. Hear him play through every part of the instrument and blow air, sonics and just about anything else you can imagine through those metal parts. Watch him deconstructing the very fabric of what we know of as music. And marvel at how interested you are in the process, even though you may never have seen anything like it before.

This may be a jocular way to introduce these four discs which feature Cambridge, Mass.-based saxophonist Rainey improvising on his own or with other musicians. But, in truth, unusual sounds demand an unusual response. For the past few years Rainey, who has a masters in composition from Boston's New England Conservatory, has been one of the burgeoning group of performers in Europe and North America taking improv past the frontiers of melody, harmony, theory ands expected instrumental tone into the realm of pure sounds. While this approach may only attract a minority of listeners, there's no doubting his sincerity. Folks with open ears and minds will be fascinated with a lot of what's available here. However, the uninitiated should be warned that the way Rainey plays makes the work of earlier, so-called experimental saxophonists like Evan Parker or John Butcher start to resemble the mainstream stylings of Stan Getz or Zoot Sims.

Rainey and trumpeter Greg Kelley have been working as nmperign since 1998. Over the years the two have developed a group sound, which is expressed in this, the band's fourth CD, made up of different live performances from a couple of years ago.

Remove any duo preconceptions you have before listening to this disc. Silence and near soundlessness is as much part of nmperign's oeuvre as anything else. When you do hear something it involves extended brass and woodwind techniques long before it reaches what the conventional would call music.

The titles are only there for convenience sake and you can listen to this disc -- and the others as well -- as one, long continuous performance. Kelly, who has been known to music-make with his mouthpiece and or horn sans mouthpiece, reduces the cylindrical brass instrument to its valves and resonating surface. Many of us try to ignore the fact that trumpeting involves spit, breath, lip vibrations and throat sounding, but Kelly's style here is in your face or more appropriately in-your-ear.

Rainey works the same way. Want to hear a saxist biting his reed, double- and triple- or flutter-tonguing, overblowing, slap tonguing or producing split tones? Well, it's all here, in spades, or perhaps in metal.

Still the overtones produced by these two are such that they actually suggest notes and tones that could come from other instruments, while the screeches and sound reverberations give the performance a cockeyed rhythm and shape. The end result should be fascinating for anyone interested in impressive duo work and certainly as valid as what would have been produced if mainstreamers Sims and Clark Terry had been the duet partners.

SIGNS OF LIFE gives you a chance to hear how Rainey interacts with another trumpeter, Santa Cruz, Calif.-based Tom Djll on two of the tracks. He and veteran saxophonist Jack Wright from Boulder Colo. are joined by Bay area clarinetist and alto saxophonist Matt Ingalls on two other tracks as well. But it's best to get any idea of the blends produced by the Duke Ellington sax section or even the World Saxophone Quartet out of your mind's ear before listening.

The brass-reeds combinations unfold like a slowly germinating flower. Again undertones and reverberations shape the pieces, with one of the saxmen often slap-tonguing for rhythm, another producing a steady mishmash of fleeting sounds as counterpoint ostinatos, while the trumpeter rolls out valve reverberations. Because of dissonance though, the overall blend produces a quilt of sound particles with the results

much more capacious then expected.

Distended sounds characterize the triple reed tracks as well, with each man contributing as many different sonics as possible. The only complaint here would be that the three don't take enough advantage of woodwind amalgamation. So busy creating non-conventional sounds with reed multiphonics and echoes, they appear to ignore the equally legitimate pitch commingling for which these instruments were initially designed.

Moving along, in the tradition of other unconventional quartets like the Bauer Brothers' two trombones-two guitars Doppelmoppel or Joe McPhee's two reeds-two basses Bluette, DOUBLE-DOUBLE features two saxophones and two cellos. Rainey and Wright are again the reedists, while Fred Lonberg-Holm of Chicago and the Bay area's Bob Marsh of are the string players.

Not only is the instrumentation non-traditional in the extreme, but the hierarchical arrangement of players is also ignored; neither duo is the soloists, neither is the rhythm section. Instead, what's on show is alluded to in the title: the equivalent of a masterful tennis match but with no player out to pulverize any of the others.

More of a blended group effort than the other discs, it doesn't stop the participants from playing individual games of strategy in their heads and working to satisfy their singular musical ideals. More often than not, however, by happenstance or design, the reed reverberations from deep inside the cylindrical bore or lungfulls of multiphonics are often in congruence with the steady string scratches, designated strums or raised bridge explorations of the cellists.

Somehow, as well, the designated soloist often operates on top of united woodwind lines or fused cello runs that produce a continuum upon which he can scrutinize his thoughts and the music. Except for the occasional grating squeak or elongated string slash, even the most hidebound modern jazz fan could probably listen to this CD long enough and finally decide that the quartet has the most natural grouping.

Finally there's SWEET SONK, five episodes of Rainey alone with his curved soprano. With the tracks ranging from 47 seconds to almost 10 and one half minutes you get a glimpse into the saxist's thought process and observe his attempts to bend the metal to his every whim. Elaboration of one idea, like how to shout and sound a pitch at the same time, characterize the shorter excursions, while the longest allows for theory elaboration. Moving from a collection of reverberations from deep inside his horn, he then create a pristine, woody, almost vibratoless tone before seeing how long he can hold a note and what vibrations are produced from doing that.

Eventually these five improvisations will end up on a three inch CD packaged with two other artists' mini-CDs. Considering though that the four discs here arrived for review as CD-Rs, there's no way to determine how well or unsatisfactorily they will fit together. Finding these session may be a problem as well. Contacting Rainey at http://homepage.mac.com/bhobr may help.

The saxophonist is gradually making a name for himself for more than the unique spelling of his first name. As one of the most committed intrepid free music explorers, it's worthwhile to follow most of his moves to see where they --and the future of improvisation -- will lead.

-- Ken Waxman

Sweet

Track Listing: 1. Sweet Sonk 1 2. Sweet Sonk 2 3. Sweet Sonk 3 4. Sweet Sonk 4 5. Sweet Sonk 5

Personnel: Bhob Rainey (soprano saxophone)

nmperign

Track Listing: 1. n 2. non 3. n n on n 4. non non n 5. no n 6. o o 7. n n

Personnel: Greg Kelly (trumpet); Bhob Rainey (soprano saxophone)

Signs

Track Listing: 1. Signs One^ 2. Signs Two* 3. Signs Three^ 4. Signs Four* 5. Signs Five

Personnel: Tom Djll (trumpet)*; Matt Ingalls (clarinet, alto saxophone)^; Bhob Rainey (soprano saxophone); Jack Wright (saxophones)

Double

Track Listing: 1. Double Once 2. Double Twice 3. Double Thrice 4. Double Forst 5. Double Fist 6. Double Sexed

Personnel: Bhob Rainey (soprano saxophone); Jack Wright (saxophones); Fred Lonberg-Holm, Bob Marsh (cellos)

October 15, 2001

CHARAOUI/LELY/WRIGHT

396
Matchless MRCD 42

The British school of free improvisation is now so established that a disc like 396 won't raise an eyebrow, certain circles, at least. Seemingly a music of protracted silences matched with sudden saxophone squeals, random piano meandering and repetitive percussive effects, it proclaims its allegiance to uncompromising improv in every gesture.

In fact, on this, their first CD, alto saxophonist Seymour Wright, pianist John Lely and percussionist/sampler Yann Charaoui -- all British-based -- appear to be more a sum of their influences than anything else.

Taking his cues from such masters of BritImprov as Evan Parker and John Butcher, Wright limits himself most of the time to tongue slaps, false fingering and those reed blasts that could just as easily come from a door hinges needing some oil. In the thrall of AMM's John Tilbury, pianist Lely never plays a phrase when a chord will do, or sounds a chord when a single note will suffice. Lastly, Charaoui's contributions include the tiny motions of cymbals being scattered and rotating on the floor, what appears to be chains dragged across a surface and the light scratching of those cymbals for effect.

Occasionally, simple repetitive tones will be interrupted for a meandering pipe organ interlude which resembles music of early, black & white children's' cartoons. Other times the three will erupt into loud, unexpected noises that could come from an electric drill before lapsing back into silence.

In short, you don't know whether to say that the more than 71 minutes of stark sounds with a simple black and white cover could be a record of a fitfully busy home workshop, or perhaps to hear it as a symphony of miniscule gestures. Even though the disc is divided into three tracks, it's impossible to tell where one stops and the next begins. Nor does this artificial division seem that important.

Hard core improv fans will probably revel in this session and there's certainly nothing on it that would offend anyone -- unless he or she insists on a familiar melody being jammed into your consciousness every time a CD plays.

Unfortunately, though, too, there's nothing here to tell the listener how these musicians differ in thought or execution from their Free Music ancestors. Until some individuality is developed, these young musicians will have to be numbered as apprentices rather than innovators.

-- Ken Waxman

Track Listing: 1. 2.28'53" 2. 4.17'21" 3. 5.20'10" 4. 13.5'05"

Personnel: Seymour Wright (alto saxophone); John Lely (piano, prepared bal-bal tarang); Yann Charaoui (cymbals, tabletop samples)

May 17, 2001